I'LL KEEP MY SKILLET GOOD AND GREASY

I'se gwine down town for to buy me a sack of flour
Gwine cook it every hour
Keep my skillet good and greasy all the time, time, time
Keep my skillet good and greasy all the time

I'se chickens in my sack, bloodhounds on my track
I'm pullin' for my shanty home, home, home
I'm pullin' for my shanty home

If they beat me to the door, I'll put 'em under the floor
Keep my skillet good and greasy all the time, time, time
Keep my skillet good and greasy all the time

I'se a-walking down the street and I stoled a ham of meat
Got my skillet good and greasy all the time, time, time
Got my skillet good and greasy all the time

I'se gwine to the hills for to buy me a jug of brandy
Gwine give it all to Mandy
Keep her good and drunk and boozy all the time, time, time
Keep her good and drunk and boozy all the time

Honey, if you say so, I'll never work-a no more
I'll lay round your shanty all the time, time, time
I'll lay round your shanty all the time

There's a man on the log, finger on the trigger and eye on the hog
Gun it went blip and the bullet it went zip
Fell on the hog with all of his grip
Got my skillet good and greasy all the time, time, time
Got my skillet good and greasy all the time

Source: transcription of reissue on Uncle Dave Macon 'Travelin' Down the Road' County CCS-CD-115. Original recording 22 January 1935.

Uncle Dave first recorded this song acoustically in 1924 and it was his first 'hit'. It continued to be a favourite so it was redone in better sound in 1935. According to Charles Wolfe, Sid Harkreader always said Uncle Dave got it from 'an old coloured man' who worked at the Readyville mill near where Macon worked.

The song was part of that 'common stock' of banjo and fiddle tunes and songs in the black and white traditions – pieces that drew on a huge collection of couplets and quatrains that were nearly all interchangeable from one to another. The 'gwines' and 'I'ses' link it to the minstrel era and the last verse here betrays its connection to the large 'Some people say a nigger/preacher can't steal' / 'Mourner, You Shall Be Free' family. In Uncle Dave's version, it's 'a man' on the log. In his wonderful 'Screening the Blues: Aspects of Blues Tradition' [New York, Da Capo Press, 1968], Paul Oliver traces the history of 'Mourner' from the minstrel days where it was 'a nigger' on the log, through to 'the preacher' taking his place as a figure of derision. Frank Stokes, a medicine show performer from Memphis, recorded in his version of 'Mourner', the title of which was abbreviated to 'You Shall':

Well you see that preacher laid behind the log
Hand on the trigger, got his eye on the hog
The hog says (grunt), the gun says 'zip',
Jump on the hog with all his grip
He had pork chops, yeah,
And backbone, and spareribs, yeah,
Now when the good lord sets me free
[Transcription from Frank Stokes 'You Shall', reissued on Frank Stokes 'Creator of the Memphis Blues' Yazoo CD 1056. Original recording August 1927, Paramount 12518].

Oliver suggest (op cit p58) that the target in Stokes' song was changed possibly because Paramount was 'alive to the sensibilities' of his listeners', but when Howard Odum collected the song [Howard W. Odum 'Folk-Song and Folk-Poetry as Found in the Secular Songs of the Southern Negroes', Journal of American Folklore, vol 24, no 94, 1911], the words still ran:

Great big nigger, settin' on a log
One eye on the trigger, one eye on the log

PS.